Culture
How New York Liberty’s length could be WNBA semifinals key: ‘It looks like an NBA roster’
NEW YORK — The final basket of Breanna Stewart’s 34-point clinic on Sunday to open the WNBA semifinals was never going to be blocked. Las Vegas Aces forward A’ja Wilson tried — elevating as high as she could as the seconds ticked down on both the shot and game clock — but the New York Liberty star skied over Wilson’s outstretched arms.
With just over a minute remaining in New York’s eventual 87-77 victory, Stewart elevated for a runner. A step in front of the free-throw line, she leaped, flicked the basketball with her right hand and watched it carom off the backboard and drop into the hoop.
Stewart ran back down the floor emphatically nodding her head after her basket served as a delightful dagger enjoyed by the sellout Barclays Center crowd of more than 14,000 fans.
New York puts the dagger in Game 1 😤
Stewie floater.
Jonquel MONSTER block.#WNBAPlayoffs presented by @Google pic.twitter.com/TuFCI6x75T— WNBA (@WNBA) September 29, 2024
What happened next wasn’t surprising either. Stewart deflected a layup by Aces guard Kelsey Plum.
Stewart’s arms were everywhere on Sunday — during that late-game sequence, on numerous New York offensive possessions in which she knocked down nearly unguardable mid-range jumpers, on defensive switches and when her arms got into passing lanes. “Sometimes the ball might be out of reach, but (I’m) still able to make a play,” Stewart said.
Plum might have scored 24 points to lead Las Vegas, but she was only focused on the loss. “That’s the only thing that I really see,” she said.
Sunday’s result was largely because of another L-word: Length.
That New York’s length was impactful wasn’t exactly a surprise. Heading into the series, both teams recognized the other as familiar foes. New York swept its three regular-season meetings against Las Vegas, and, of course, there was history between them last year. The Liberty won the 2023 Commissioner’s Cup over the Aces, and later, more importantly, the Aces defeated the Liberty for the 2023 WNBA championship.
Las Vegas knows what to expect against New York. Nevertheless, before Saturday’s practice, Aces coach Becky Hammon reminded players who they were going up against.
“It looks like an NBA roster,” she said of New York’s length. “It really puts into perspective how big they are and how mobile they are.”
She put the wingspan of each of New York’s starters on a board. Liberty wing Betnijah Laney-Hamilton’s wingspan of 6-foot-3 and 3/4 inches is nearly four inches longer than her 6-foot height. Rookie wing Leonie Fiebich stands 6-4 with a wingspan to match. Center Jonquel Jones, who is 6-6, has a nearly 6-10 wingspan.
Then there is Stewart, the two-time WNBA MVP.
She issued a correction to the Liberty’s media guide, which lists her at 6-10 3/4. “I thought my wingspan was 7-1,” she said, extending her arms in a postgame interview. “We’re going to have to confirm with the New York Liberty to re-measure that.”
The size and mobility played immediate dividends for the Liberty. They constantly switched on defense and scrambled when necessary to close out on open Aces. New York disrupted Las Vegas’ pick-and-roll actions. And when the Aces tried to drive baseline? “It was not good things happening,” Hammon said, adding that New York cut off corner opportunities, too.
Stewart’s wingspan made a difference on offense as well. She scored 20 points in the first half and passed Lisa Leslie for the longest streak of double-digit performances (35) in WNBA postseason history. “She had too many mismatches,” Hammon said. “We were switching guards onto her and (Jones) in the first half, and we’re not supposed to do that. They destroyed us in there. Both the bigs.”
Jones finished with 13 points and 12 rebounds. And though Fiebich added only 6 points, she was plus-19 in 35 minutes, leading New York in plus/minus for the third consecutive playoff game. Fiebich is still new to the Liberty’s starting lineup. Before New York’s first-round series last week against the Atlanta Dream, Liberty coach Sandy Brondello started her and moved Courtney Vandersloot to the bench. Brondello said she wanted two playmakers on the floor at all times. But the move had other benefits: Because of Fiebich’s size, strength and length, New York can switch almost any screen defensively. (Sunday’s starters had a plus-85.2 defensive rating in the regular season.)
Fiebich opened the series against the Aces guarding Plum. Afterward, the 24-year-old German rookie wasn’t pleased with her performance. “I’m such a perfectionist on defense that I didn’t really feel like it was great defense,” Fiebich said.
Still, Fiebich repeatedly disrupted other Aces when scrambling around the floor. Most notably, Aces guard Chelsea Gray was hounded by Fiebich at the end of the third quarter and was unable to get a shot off.
Afterward, Vandersloot thought back to one of her earliest memories of Fiebich, seeing her switch onto a center in an early-season contest. “It’s not really a mismatch,” Vandersloot said she thought to herself. “What a luxury that is to have her be able to guard the smallest girl on the floor and then switch out onto somebody without having to get into rotations.”
Of course, the greatest luxury of all for New York is Stewart, who laughed afterward about how hard it is to find long sleeves that fit.
There is an old adage in basketball: You can’t teach height. At this point in the playoffs, you can’t teach length either. Instead, Hammon and her staff will be tasked with trying to counteract New York defenders’ arms. A possible solution?
“You gotta spread them out,” Hammon said. “You gotta get to space. You have to space, and the ball has to move. If the ball doesn’t move, and we grab it and we analyze, their length becomes an issue again because everybody recovers back to their own.”
In theory, Las Vegas knew what was coming on Sunday as well. Aces guard Jackie Young said she knew that New York’s length would affect shots and passing lanes. Gray said it forces players into higher release points on their shots. “That poses a challenge at both ends,” Gray said.
And it did. Gray scored only 4 points on 2-of-7 shooting.
Game 2 is Tuesday evening in New York. Hammon called it “do-or-die.” But at least for one afternoon, the two-time defending champion Aces couldn’t stop what they knew was coming.
New York fans inside Barclays Center waved their arms (and white towels) in delight as the final seconds ticked off the clock. Liberty arms were all over the imprint of Game 1. “They punched us in the nose,” Hammon said. “No doubt about it.”
(Photo of Breanna Stewart: Evan Yu / NBAE via Getty Images)
A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.
The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.
And then it bursts into flame.
“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.
Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.
We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.
To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.
But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”
That’s the kind of poem she wrote.
“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.
Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.
What happens next? That’s up to you.
Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.
When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.
This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.
There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.
Their first impressions fill a nearly page-long paragraph. Here’s how it begins.
Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.
But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.
It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.
See the full list of the 10 Best Books of 2025 here.
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